Episode Synopsis "“El Guararey de Pastora” – 2 choruses of a user-defined form (as 8|8/10/10 bars) with no intro and an 8-bar ending, using a Songo rhythm at 210 bpm"

“El Guararey de Pastora” – 2 choruses of a user-defined form (as 8|8/10/10 bars) with no intro and an 8-bar ending, using a Songo rhythm at 210 bpm Check out alive-drumming.org at http://alive-drumming.org/ As supplied on the "Afro-Cuban Salsa Sampler", Apple iOS App. https://itunes.apple.com/us/app/afro-cuban-salsa-sampler/id1367015786?mt=8

Listen "“El Guararey de Pastora” – 2 choruses of a user-defined form (as 8|8/10/10 bars) with no intro and an 8-bar ending, using a Songo rhythm at 210 bpm"

More episodes of the podcast Get Better Rhythm in Modern Music

• “Cemento, Ladrillo y Arena” – 4 choruses of a user-defined form (as 8|16/8 bars) with an 8-bar intro’ and no ending, using a Son Montuno 32 rhythm at 170 bpm
• “Yo no Quiero Piedra en me Camino” – 6 choruses of a 16-bar Tune (as 8|8 bars) with an 8-bar intro’ and a 10-bar ending, using a Guaracha 32 rhythm at 180 bpm
• “Song For Maura” – 5 choruses of 32-bar A1A2 form (as 16|16 bars) with an 8-bar intro’ and a 4-bar ending, using a Mambo rhythm at 150 bpm
• “Mambo Inn” – 3 choruses of 32-bar AABA (as 8|8/8|8 bars) with an 8-bar intro’ and no ending, using a Mambo Latin Jazz rhythm at 190 bpm
• “El Jamaiquino” – 3 choruses of 24-bar AAB form (as 8|8/8 bars) with an 8-bar intro’ and no ending, using a Guaracha 32 rhythm at 180 bpm
• “Yo no Quiero Piedra en me Camino” – 3 choruses of a 16-bar Tune (as 8|8 bars) with an 8-bar intro’ and a 10-bar ending, using a Guaracha 32 rhythm at 180 bpm
• “Samba For Carmen” – 2 choruses of a user-defined form (as 16|16|8 bars) with an 8-bar intro’ and a 6-bar ending, using a Samba rhythm with both drums and percussion at 190 bpm
• “El Bodeguero” – 3 choruses of 32-bar A1A2 form (as 16|16 bars) with a 4-bar intro’ and an 8-bar ending, using a Cuban Mozambique rhythm at 118 bpm
• “Longina” – 2 choruses of a user-defined form (as 4|13|20 bars) with a 4-bar intro’ and no ending, using a modern slow Merengue rhythm at 112 bpm
• “Lamento Esclavo” – A single choruses of 32-bar A1A2 (as 16|16) with a 4-bar intro’ and a 2-bar ending, using a Tango rhythm at 120 bpm
• “El Guararey de Pastora” – 2 choruses of a user-defined form (as 8|8/10/10 bars) with no intro and an 8-bar ending, using a Songo rhythm at 210 bpm
• “Pare Cochero” – 2 choruses of a user-defined form (as 8|10|8|10/4/4 bars) with no intro’ or ending sections, using a Cha Cha Cha rhythm at 120 bpm
• “Calculadoro” – 2 choruses of a user-defined form (as 20|8/8 bars) with no intro’ or ending sections, using a Cha Cha Cha Latin Jazz rhythm at 135 bpm
• “El arroyo que murmura” – 2 choruses of a user-defined form (as 12|12|6 bars) with no ntro’ or ending sections, using a folk Afro-Cuban 6/8 rhythm at 114 bpm
• “Chucho” – 3 choruses of 24-bar A1A2 form (as 12|12) with a 2-bar intro’ and a 4-bar ending, using a Mambo Latin Jazz rhythm at 190 bpm
• “Guarina” – 3 choruses of 40-bar A1A2 form (as 20|20 bars) with a 2-bar intro’ and no ending, using a modern Afro-Cuban 6/8 rhythm at 114 bpm
• “Me recordaras” – 2 choruses of a 32-bar AABA form (as 8|8/8|8 bars) with a 2-bar intro’ and no ending, using a Songo rhythm at 210 bpm
• “Maria Cristina” – 3 choruses of a user-defined form (as 18|18/8/8 bars ) with a 2-bar intro’ and no ending, using a Son Medium rhythm at 140 bpm
• “La Enganadora” – A single chorus of a user-defined form (as 16|10|7 bars) with a 2-bar intro’ and no ending, using a New York Mozambique rhythm at 118 bpm
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• Why You Been Gone So Long - a Country Swing rhythm at 145 bpm
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• Cripple Creek - An Easy Bluegrass rhythm at 100 bpm
• Leaving On A Jet Plane - A Nashville Pop Ballad at 65 bpm
• You Never Can Tell - Rock Shuffle at 135 bpm
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• Miss The Mississippi And You - A Classic Nashville swing waltz at 85 bpm
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• Are You Sincere - A Jazz brushes rhythm at 45 bpm
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• Wake Up Little Susie - Nashville Country 2-Beat swinging 8th at 80 bpm -
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• 8-bar intro', 3 choruses of 36-bar ABC (16/8|12) form using standard Jazz Brushes at 120 bpm
• 8-bar intro', followed by 4 choruses of 32-bar A1A2 form with a 10-bar ending using a bouncy pop rhythm at 130 bpm Song Rhythm Track
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• "Moon River 3/4" - 3 choruses of "16|22" form 3/4 time ethnic waltz at 120 bpm Song Rhythm Track
• "Georgia On My Mind" - 8-bar intro' followed by 4 choruses of 32-bar AABA form using a swinging 8th blues rhythm at 65 bpm Song Rhythm Track
• 8-bar intro, 4 choruses of 36-bar AAAC form ("8|8|8|12") using sophisticated Jazz rhythm at 50 bpm Song Rhythm Tracks
• "Almost Like Being In Love" - 4 choruses of 36-bar ABC form (16/8|12) using a Jazz rhythm at 145 bpm Song Rhythm Track
• "Blue Bossa" - 8-bar intro, 6 choruses of a 16-bar tune using a grooving jazz funk rhythm at 110 bpm Song Rhythm Track
• "Dearly Beloved" - 5 choruses of a 32-bar form of "8|8|8|8" with an 8-bar ending using an older jazz 146 bpm rhythm Song Rhythm Track
• 6 Choruses of a 16-bar tune (4 x 4-bar phrases) using a swinging jazz rhythm using brushes at 120 bpm Song Rhythm Track
• "Black Orpheus" - 4 choruses of 32-bar A1A2 form with a 4-bar ending using a sophisticated Bossa rhythm at 120 bpm Song Rhythm Track
• 6 choruses of a 16-bar Tune (4 x 4-bar phrases) using an LA Pop Jazz upbeat swing rhythm at 132 bpm Song Rhythm Track
• 8-bar intro', 2 choruses of 24-bar AAA form ("888") with an 8-bar ending using Jazz Brushes and Sticks at 145 bpm Song Rhythm Tracks
• "How High The Moon" - 8-bar intro, 3 choruses of 32-bar A1A2 form (16|16) of a jazz rhythm with brushes and sticks at 100 bpm Song Rhythm Tracks
• "Bye Bye Blackbird" - 8-bar intro', followed by 4 choruses of "16/8/8" with a 4-bar ending using standard Jazz brushes at 120 bpm Song Rhythm Track
• "East of The Sun" - 8-bar intro', followed by 4 choruses of 36-bar ABC form with an 8-bar ending using a modern Jazz rhythm at 130 bpm Song Rhythm Track
• "Moonlight In Vermont" - 3 choruses of "6|6|8|8" form with a standard 2-bar ending of a Jazz rhythm using brushes only at 70 bpm Song Rhythm Track
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• "I Wish I knew how it feels to be free" - 6 choruses of a 16-bar tune (4 x 4-bar phrases) and a 4-bar ending using a light LA Pop even-8th rhythm Song Rhythm Track
• "Now's The Time' - 6 choruses of a 16-bar tune with a 4-bar ending of an even-8th jazz rhythm at 250 bpm Song Rhythm Track
• "Just Friends ChaCha" - 5 choruses of 32-bar A1A2 form (16|16) using a Cha Cha rhythm at 135 bpm Song Rhythm Track
• "Watermelon Man" - 5 choruses of a 16-bar tune using an even-8th rhythm at 85 bpm Song Rhythm Track
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• "Blame It On My Youth" - 4 choruses of 32-bar A1A2 form using Jazz Brushes with a 2-Feel at middle choruses at 45 b.p.m. Song Rhythm Track
• "In The Wee Small Hours Of The Morning" - 4-bar intro, followed by 3 choruses of the form "8|10" with a 6-bar ending using Jazz Brushes with a 2-feel in the middle choruses at 45 bpm Song Rhythm Track
• "Stormy Weather" - 4-bar intro', followed by 3 choruses of 32-bar AABA form using a sophisticated Jazz rhythm at 50 b.p.m. Song Rhythm Track
• "How High The Moon" - 4 x 32-bar A1A2 Jazz Older at 100 b.p.m. Song Rhythm Tracks
• "Take The "A" Train" - 8-bar intro, 5 choruses of 32-bar A1A2 form using an older style jazz rhythm at 146 bpm Song Rhythm Track
• "On Green Dolphin Street" - 12-bar Intro, followed by 3 choruses of a 32-bar "Green Dolphin Street" form (8/8|8/8), followed by an 8-bar ending with a Bossa-then-swing rhythm at 145 b.p.m.
• Almost Like Being In Love
• Mad Jane learning Some Blues -based on Blue Monk
• Mad Jane playing with The Way You Look Tonight
• Mad Jane messing with messy Autumn Leaves
• Mad Jane Jamming On Blue Monk
• Almost Like Being In Love
• Mad Jane trying out Fly Me To The Moon